[Matt Campbell]

Jeremy or Brett, I’m wanting to know if this same concept will work with all HD material. I have 2 ProRes files, one a 1080p23.98 TV spot that a client wants to run back to back with their supplied file, which is 720p30 running at 29.97. Since both files are progressive, if I create a 720p59.94 sequence in FCP and drop both files in, will FCP add in the correct pulldown to both. The 1080p file looks right with 3:2 pulldown, 1 new frame with 1 repeat frame, then 1 new frame with 2 repeat frames. Is this correct?

The 720p29.97 clip is 1 new frame with 1 repeat frame throughout. Is this correct?

I think I’m okay with this, but I want to make sure I’m doing this right. Does that sound right?

Also, I know the 720p29.97 file the client sent is a such, because of what the browser shows me in FCP, but I’m seeing some jaggies with some of the footage. My guess is that is was interlaced footage at one point and now its progressive. Could he have deinterlaced footage to use with his other 720p material? I know you can’t tell without looking at the clip, but could this be the case in having jaggies in a 720 progressive clip?

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Although I’ve never tried the X-rite, I suspect you can achieve similar results to mine with that one. Again, it’s just a long process of testing out their presets to see if they hold up when you try to get them close to a broadcast monitor

David, when you say testing, not to be a pain, but how could I do that? Would you want to pump color bars through the monitor in FCP, while using the profile created in OS for the 2 Eizo monitors? Then maybe using the scopes and flesh tone line, bring in a properly color balanced video clip with a person to help visually judge the accuracy of the calibration?

Again, I know i’ll never get exact with computer monitors, but close will be good enough for now.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Shuling, not sure what your trying to get with your final piece, but you might also be able to use some filters and VFX to help hide and minimize the differences between the 2 cameras. I’ve done this in the past by using some cut aways as black and whites or even throwing a graphic treatment on the clips. There are ways to pull this off without venturing to far past the look your going for.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks man. I actually don’t mind the boring documentation. Being self taught, I need to read up on as much as possible.

As close as possible is all I need for now, and am aware of. I hoping I get approval from the bosses for a broadcast monitor or even a production monitor. Anything is better than my 2 Eizo’s and a consumer HDTV. My current settings are at 180 cd, 6500k and 2.2 gamma. but I’m moving to a new machine and will have to re-calibrate the monitors to the new OS. Thanks, I’ll use those as starting points.

I know all monitors are RGB but when the profiles are working with apps like CS 3 for print, they simulate CMYK values and color space.

Thanks for all your help guys. We’ll see what happens here. It nice to talk this through without getting slammed for not having a broadcast monitor. Just need to make the best with what I have now.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks. Appreciate the insight. I believe we have a X-rite colorimeter. I’ll see what I get with it. Might look into the spyder then. thx again.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks. I actually read that thread before I posted this one. I guess I just need to use a colorimeter and calibrate for RGB values rather than CMYK. I’d like to be able to get as close to broadcast quality as possible. And I know that its highly unlikely but will using color bars help at all for this? Or is it just a matter of letting the colorimeter do its thing? It seems like there should be some sort of standard to aim for?

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Just what I was looking for only didn’t know how to find it. Muchos gracias.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

I know its best to use a colorimeter to calibrate them. But I’ve only done this for print work in CMYK. Video work is RGB. This is where my confusion lies. On how to set up for video in RGB, rather than create a color profile in CMYK for InDesign, Illustrator and Photoshop. That was done so if all 3 apps were open at the same time, side by side, they should all look the same. But i know video is way different because FCP doesn’t load color profiles.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

If your editing on an iMac, I’d definitely stay with DV. However, miniDV is not the best quality to begin with. It might be a large project to undertake, but I’d much rather start with the HD footage and cut with it. However, your iMac might not be able to keep up plus storage is an issue.

If you want to stay with miniDV, your workflow sounds pretty good. Capturing to ProRes or even an uncompressed codec probably won’t make much difference. You already have generation loss with minDV. However, ProRes or uncompressed with help to minimize future degradation of the footage. Export your master, use compressor to create high quality mpeg 2 and ac3 files. layout and burn your DVD.

Hope this helps.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card

[Matt Campbell]

Not to familiar with cinema tools but that might help. If not in Compressor, are you using the frame controls? These create a much nicer looking clip.

OS 10.5.5, Mac Pro 2 x 3 ghz quad-core intel xenon, 9 gb ram, with BM Intensity Pro card